The traditional Aussie backyard meets David Lynch in a sports science lab, it’s safe to say cricket has never appeared as ethereal and visually rich as it does in the stunning trailer for the much-anticipated new work by the husband and wife team of Trent Parke and Narelle Autio.

It is said that death at the hands of a woman deters a martyr from entering paradise. One third of all Kurdish fighters in Western Kurdistan are women. Unafraid of death and fulfilled by their passion for their homeland and their love for their families and people, these women muster up the courage to face the heavily armed IS in Syria. One of their most recent victories includes the recapturing of the City of Kobane in northern Syria from the IS. These women refuse to succumb to the patriarchal view of the role of women that regards women as objects, trapped in their homes, and upholding the family’s honor. It is without exaggeration to say that one could describe the current Kurdish feminist movement viewed from a military, ideological, and organizational perspective as the world’s strongest movement on behalf of the rights of women. This series by Sonja Hamad entitled Jin – Jiyan – Azadi (Women, Life, Freedom) pays them homage.

As a kid, Kirill Golovchenko spent a lot of time on the beach and most of the summer in a seaside holiday home. He took a swimming tyre and shot photos through it. The circular image this created reminded him of a ship’s porthole.

Luis Carle sees himself, and his work, as a bridge — between the gay and straight communities, between the younger and older generations of the L.G.B.T. community, and between past and the present. The Puerto Rican photographer was 17 when came out in San Juan in 1980, and in subsequent years witnessed the AIDS crisis, the culture wars, and the march toward broader L.G.B.T. rights. All along, he made pictures of his community and the seismic waves that were reshaping it.

This year, I spent most of the month of January in northeastern Nigeria on a reporting trip for The Times Magazine with the writer Sarah Topol to tell the story of boys abducted by Boko Haram and forced to become child soldiers. During this time, I was also able to photograph parts of the conflict that are rarely seen, including a night patrol with Nigerian soldiers and a road that was attacked by Boko Haram the day before.

Eugene Richards’s photographs speak to the most profound aspects of human experience: birth, death, and the grinding effects of systemic poverty. His style is unflinching yet poetic, and his photographs are deeply rooted in the texture of lived experience. Through his photographs, writings, and moving image works, Richards confronts challenging subjects with an impassioned honesty that can be simultaneously controversial, lyrical, beautiful, and melancholy. Ultimately, Richards’s photographs illuminate aspects of American society that might otherwise remain hidden in plain sight.

In the landscape of photographers’ agencies, Modds, founded in 2011, is unique. It is run by an unusual team of two young women activists who fiercely defend their artists—eighteen portraitists with strong personalities who continuously sweep the front pages of the most prestigious magazines, such as Vanity Fair, Figaro Madame, as well as Libération and the Inrocks

During the years 1960/70, Stephen Shames was the loyal chronicler of the “Black Panther Party”, the African-American emancipation movement that invented some radical forms of opposition. Faithful fellow traveler of the movement, during seven years Stephen Shames produced images that retraced the daily lives of a people on the move: debates, clothing and food distributions, protest demonstrations, confrontations, funerals… After that, for twenty years, Stephen Shames documented life in the Bronx

Master of camouflage, Liu Bolin uses his body to literally melt into his chosen background and produce some amazing photos. For more than ten years, this artist who seems to pass through walls has used the same modus operandi. With the help of his assistants who paint him from head to toe, he hides in supermarket shelves, the door of a safe, a pile of coal, a newspaper kiosk display. This rare retrospective of his work enables the public to discover his spectacular images, which are also works of resistance. In becoming this “invisible man” who shows up where he is not expected, Liu Bolin affirms his stubborn and insubordinate presence in a world that tends to deny the uniqueness of everyone’s destiny.